All Articles – Page 235

Tell us how we’re doing. Tell us about the articles that have helped you and articles you’d like to read. Share with us and our readers how YOU are doing and what you’re finding makes you a more successful classical singer. We would like to publish your comments, received either by e-mail at editorial@classicalsinger.com or in the mail at P.O. Box 1710, Draper, UT 84020. The opinions expressed are not necessarily the view of Classical Singer magazine or the publisher.

From cysts on the vocal cords, to managing severe allergies, CS’ resident physician has all the answers. If you have a question for Dr. Jahn, e-mail him at jahn@classicalsinger.com.

This month’s interview focuses on the challenges of living in the shadow of a singing parent, and on how parental expectations for a child can have long-lasting implications. It also explores chronic health problems and one singer’s resolve not to let anything hold her back from achieving her full singer identity.

Pursuing a singing career comes with a lot of expenses: voice lessons, coachings, accompanist fees, tuition for summer programs, and more. Learning to fundraise is critical. In a response to a singer’s recent inquiry on the topic, Erda offers great tips for fundraising, earning, and saving money. If you have a question for Erda, e-mail her at erda@classicalsinger.com.

Every year, opera workshop directors take on the task of choosing repertoire appropriate for a class of students with a wide range of abilities and levels of training. In my

The final volume in the Canciones de España—Songs of Nineteenth-Century Spain anthology series was released in February 2007 (Scarecrow Press). The three volumes, published in high and low keys, make

During the last century many composers of vocal art-music tended to use the voice merely as another instrument, often stripping away some of the most wonderful qualities inherent in the

Musical theatre requires a combination of talents—singing, dancing, and acting. Director John Doyle has added one more requirement to the list—playing in the onstage orchestra—in several recent Broadway revivals. Janette Goleme sat down with five of the classically trained singers from his latest creation, Stephen Sondheim’s Company.

In our January issue CS featured an article on the Feb. 10 world premiere of a new opera, The Grapes of Wrath. Now we take the opportunity to talk with composer Ricky Ian Gordon and baritone Brian Leerhuber (Tom Joad) one month after the opera’s Minnesota Opera premiere and just prior to its Utah Opera opening.

The Fach system is often a source of grief for many singers. From knowing what Fach you belong to, to switching Fachs as a result of incorrect classification or a maturing voice, Rachel Antman addresses many of the challenges of Fach classification, and how to manage what can seem the overwhelming prospect of switching Fachs.

Tell us how we’re doing. Tell us about the articles that have helped you and articles you’d like to read. Share with us and our readers how YOU are doing and what you’re finding makes you a more successful classical singer. We would like to publish your comments, received either by e-mail at editorial@classicalsinger.com or in the mail at P.O. Box 1710, Draper, UT 84020. The opinions expressed are not necessarily the view of Classical Singer magazine or the publisher.

Submit entries to the Bulletin Board by e-mail at bulletinboard@classicalsinger.com.